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SEASON 2 EPISODE 1 - “FOUR MONTHS LATER”

Here we go. The second season of HEROES launches tonight. The expectations are high. I know, for myself, and I think I speak for the many producers cast and crew that I work with – we are nervous as heck, hoping that you guys respond to what we’ve decided to do this year.

We know we can’t stand still, and that it’s not OK to just do a new version of last year’s show. New characters are introduced. New villains. A new catastrophe looms. And some of our stories don’t even take place in this century!

I directed the episode. Tim Kring wrote the script. This is, actually, the first HEROES script of Tim’s that I’ve directed. It’s interesting, and I’m not sure why this is, but I found this script easier to direct than the other HEROES I’ve done. Don’t get me wrong, I’ve gotten great scripts on this show, but as we shot it, things just seemed to stage and shoot more easily and gracefully. Even though the show is big, it prepped and shot better than most of our others. The show is actually 10 minutes longer than an average HEROES - 53 minutes versus 43. But we filmed it in 13 days without many problems (A typical 43 minute show takes 10-12 days.) I credit a tight script with natural internal logic and flow and a certain simplicity and directness of storytelling, that made this possible.

I’ve directed season openers before. I did all of the SMALLVILLE openers between seasons 2 and 4. They’re fun to do because they’re inevitably big and action packed. You get more days to shoot them and - while you’re introducing new stories and ideas that will drive the rest of the season – openers tend to end in an unresolved way. As a director I get all the fun of introducing a problem without having to conclude it to a solution.

Tim, the writers, and the non-writing producers (which includes me) all spent a lot of time talking about how we were going to tell stories this year, and where all the characters were at when we meet them. The title of the episode tells you a lot – It’s FOUR MONTHS LATER and we are meeting all of our recurring characters four months after the events in Kirby Plaza, when Nathan flew Peter into the sky and the Heroes prevented the destruction of NYC.

There’s almost no explanation for what happened in the intervening time. And, as Tim points out, almost all of the characters are flipped in intention and situation from where we first met them last year.

Nathan, who was so in control and determined as a political candidate last year, has seemingly lost it all and has no goals. He drinks alone in a bar and is haunted by a disfigured version of himself. Who is this vision and what is the symbolism behind his horrible disfigurement?

Matt Parkman, who last year futilely dreamed of being a detective, this year kicks ass as a cop, using his powers to ace his field test. He also is living in Suresh’s apartment and is caretaking Molly Walker the little girl he rescued from Sylar in episodes 2 and 3 of last year. How did they get into this situation and what happened to Matt’s pregnant wife?

The Bennet family has relocated to California where they are in hiding. Their individual circumstances are diminished - HRG is no longer the in-control company man, he has a crap job at a copy company. And Claire is no longer the popular cheerleader. She’s an outsider at a new school. But as a family they are stronger and they no longer have secrets from each other… Except one!

Hiro, who longed for adventure as an office drone last year - is, literally, thrown into the adventure stories he read as a child. He now exists in feudal Japan in the 1600’s and is allied with Takezo Kensie, the hero of those tales. But, as is often the case, history is not always accurate and heroes are not always as they are depicted.

Suresh has done a 360 from last year. He lectures again about the variant humans among us, but now with certainty and determination. No longer timid, he takes crap from no one and, in fact, is teamed up with his biggest adversary of last year on a mission to take down the company.

Two clues to the season: What is the virus Suresh is talking about? And… Who killed Kaito Nakamura? These are key questions!

There is also one new story and one new set of Heroes (this week.) Maya and Alejandro, who we meet – in typical HEROES fashion – in the middle of their problem. They are on the run from the law in South America. We learn that they are trying to make their way to the USA to meet Doctor Suresh. And we learn the deadly, dreadful power that they have… A power that is more a blessing than a curse.

Conspicuously absent from the episode are Niki, DL and Micha. Also Sylar is nowhere to be seen. Are they alive? Dead? More will be revealed!

The production of this episode was really fun for me this time. Even though I’d had no more than two weeks off between seasons I felt refreshed. Also, we weren’t fighting against the budget and schedule so much on this one, and that makes life easier.

Stylistically I felt like we got in a groove last year. The show is acknowledged for being cinematic in the way it’s presented and I take a lot of pride in that. The only major change we made this year is we decided not to use the hard-and-fast color palette rules that we had last year (in which New York was always blue, Texas was always gold, etc.) In the beginning of last year, I believe, that tool was useful in grounding the audience into which stories they were following at any given time… But it sort of bit us at the end of the season as all the stories converged in New York and the show ended up being all blue all the time.

Otherwise I feel I sort of know how to shoot the show these days. The frames are as graphic as possible, super low angles, super high angles, lots of foreground and big big close ups (all in keeping with graphic novel frames to which we owe a big allegiance.)

But I’ve also been interested in exploring the edgy faux-documentary style used in movies like THE CONSTANT GARDENER and THE BOURNE IDENTITY movies. A week or so before beginning production I saw A MIGHTY HEART, the Michael Winterbottom directed movie which starred Angelina Jolie. I found it very bold and felt inspired by it. It uses a very modern style, with all handheld cameras and a very captured-in-the-moment documentary style. Even though this is something I’d already been doing on HEROES, I left the theatre feeling that I could push myself further in this direction.

I took it upon myself, in all of the sequences that were inherently edgy and tension-filled, to employ this style. I did it in most of the Latin America story, in the opening scene with Matt Parkman and in the scene with Nathan and his mother arguing in Peter’s apartment. It’s fun and it really involves the camera operators in a collaborative way. I make a rule where I say to them, “We are going to do two passes on this scene with two cameras – and at the end of that we are done.” It’s like a documentary. Make sure your camera captures every important moment.” Now, truthfully we rehearsed and planned what those moments were, but I did stick to those rules pretty faithfully. I am proud of those scenes.

I used a variation of this style in the scene with Ando and Kaito Nakamura on the Kirby Plaza. The camera was not hand held, but I went on very long lenses and used numerous extras to create numerous foreground wipes. Because of the long lenses the wipes are just quick blurs. And since there are so many of them I was able to cut from shot to shot fluidly. Even though the characters are just sitting there, the numerous cuts and the numerous wipes create an inherent tension. Then at the end of the scene when Kaito realizes he’s marked for death, I changed up style completely and went to a long take with no coverage (i.e. cuts) on a very wide lens.

The Japanese section of the movie provided a greater challenge for me. Allan Arkush is a huge fan of Japanese cinema, and he had me watching a bunch of Kurosawa movies, Zatoichi, the Blind Samurai movies, and other Japanese movies from the late 50’s and early 60’s. The goal in the Japanese section was to use that visual style. But I have to confess this was difficult for me. It goes against my innate, move-the-camera-boost-the-energy style. I did a couple of scenes this way (notably the one where Hiro and the Japanese warrior-on-horseback pop in) and upon reflection, I felt it was dull. So I abandoned it and went to a hand held style in the scene where the villagers are leaving their village. I'm sort of bummed I wasn't able to pull off the style we had all talked about - but it felt more important to make sure the story and characters worked in a way I felt assured about. Next week, you'll see, Allan does a much better job with this stylistic choice.

The Bennet story provided an opportunity for yet another completely different visual and performance style. This storyline struck me as being like a teen comedy from the 80’s (a genre I cut my teeth on!) so I stuck to that style for these sequences. This means I used wider lenses, I brought the camera more to eye-level, I used close eyelines and center-punched compositions. I played the comedy more broadly. (A good example of this is when I used the camera as Claire’s POV as she walks through the gauntlet of angry cheerleaders – The cheerleaders are all staring right into camera. I worried it was too comediaclly broad – but now I think it works)

The scene with HRG at work where he takes down his boss by one finger, and the scene of the Bennet’s eating dinner are also examples of this style. The compositions are all centered (most HEROES compositions are specifically off-center) and the characters are alone in the frame. This creates a cinematic distance that, for some reason, is funny. The Bennet dinner was a risky scene, because we are trying to make it feel painfully dull. In the dullness and awkwardness is the comedy. There is no music in the scene, which makes the awkwardness more acute. For me, my ace in the hole was that all of these actors, Jack Coleman, Hayden Panettiere, Ashley Crow, and Randall Bentley are always immensely controlled and authentic in their performance choices. None of them are going to go into a fake/overly broad place. In fact, before beginning the scene, we all talked quite a bit about how to give it a basis of reality, while still milking the comedy. I trusted my actors integrity to let me push the visual style. I think the scene works.

One last thing – I want to tip my hat to Stargate for the visual effects in this episode. As always with HEROES, most of the effects are subtle and environmental – like the city of Cairo out the window when Suresh and Bob have tea. But I really think Stargate outdid themselves in Japan. The eclipse, and the frozen arrows are downright cool. Mostly, I designed all these shots in storyboard form, but they really turned out well. The moment where Hiro moves the arrow and the moment when Hiro steps around and in front of the frozen arrow were invented by Stargate – and are great. The other effect that blew me away is the burning village of Otsu. Basically, I shot a group of extras wandering up a dirt road next to a hill with telephone poles, and distant houses. Stargate removed all the modern stuff and added the burning village.

I was happy.

All right – jeez – that’s a lot of words for one week. Next week, episode 2, written by Michael Green and directed by Allan Arkush.

SENDHIL AND STEPHEN TOBOLOWSKY AS BOB (THE MYSTERIOUS COMPANY MAN)

BAD ASS GREG GRUNBERG AS BAD ASS MATT PARKMAN

DANIA AND SHALIM AS MAYA AND ALEJANDRO

MASI AND DAVID ANDERS

MASI, BEEMAN AND NEW CO-STAR ERIKO TAMURA – THE SWORDSMITH’S DAUGHTER

MASI, DAVID ANDERS AND NEW CO-STAR MR. ED

JACK COLEMAN AND HAYDEN AND CLAIRE’S NEW HIGH SCHOOL – COSTA VERDE HIGH

HAYDEN AND NEW CO-STAR NICHOLAS D’AGOSTO (WHAT IS HIS POWER? WHAT ARE HIS INTENTIONS WITH CLAIRE?)

JEPH LOEB AND THE CHEERLEADERS OF AZUSA PACIFIC COLLEGE AS THE CHEERLEADERS OF COSTA VERDE HIGH

BEEMAN, HAYDEN AND THE CHEERLEADERS OF AZUSA PACIFIC COLLEGE AS THE CHEERLEADERS OF COSTA VERDE HIGH

DAVID ANDERS AND OUR JAPANESE TRANSLATOR YUMI MIZUI. AS YOU CAN SEE BY THE PICTURE, DAVID TRAVELED TO TOKYO FOR FOUR MONTHS TO LEARN FLUENT JAPANESE.

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YOU KILLED SULU!!!! YOU BASTARDS!!!! seriously tho, glad the show is back...so did parkman's wife go back to australia to take care of her kid? and please, bring back claude....i have much man love for eccleston

At first the yellow for the Spanish threw me, but then it struck me "White: Japanese, Yellow: Spanish". So will we ever get Green with poka-dots?

I liked the film style of this episode, but the last scene out side of the bedroom was just... smallville feeling [grin]. Maybe it was the kids hair.

I look forward to seeing the rest of the season, and I really hope we get some flash-backs to the 4 month period we missed. I really want to see more of Kaito and Ando. You really killed that friendship to early.

Over all, great start to a new season. It will be better than last year.

GREAT first episode. I loved it, and I can honestly say I wasn't disappointed a bit! That was my show! I love whatever's going on with Nathan, and I hope we see more of Angela Petrelli, too. I swear, she just gets more and more awesome all the time.

Also, Matt and Mohinder taking care of Molly together is adorable, and that little girl is great.

Oh. It was awesome. It was SO good that we had to pause the tv to laugh or gasp or discuss something quickly or rewind and rewatch IMMEDIATELY. Well worth the wait and jsut as good as I hoped it would be. The internal questions were duly noted. I just hope that there's some explanation of Kaito's powers before long. Actually, I have a list of questions to keep in mind while watching the next few weeks and it's going to be a long Tuesday to Sunday from now on.Thanks!

Seriously, that was an awesome episode, and I really enjoyed hearing all the technical info you provided (especially about camera angles). It's really fascinating to see how the episodes are actually constructed. I think my favorite thing about the episode is that you didn't throw all the characters back in at once. Otherwise, my head would have been spinning. The pacing of the episode was also engaging, and for that we can thank you.

Greg, awesome episode. Up until that lame product placement of the Nissan. Oh daddy thank you so much for the car that sponsors this show! A little cheesy but hey it pays for all those amazing actors and cool special effects!You guys rock.

Thank you for a great beggining of a new season! I just have one request, I doubt anyone will fulfill it, but I have to ask: Is it possible to publish here or on NBC's site the script for the pilot? I know scripts are copyrighted materials, but there must be a way to do this. The script for the original pilot (In His Own Image) leaked.

Great episode, but man were those Irish accents awful! Hopefully before the season is out they'll get someone who has actually been to the country to teach the actors how we speak. Or maybe some Irish language dialogue, with green subtitles?

Great work with the premier. When I saw the credits come up I was really stoked to see your name for the first episode this year. I know you had to intro all the characters for new viewers, so I'm even more amped up now to see where next week goes. All the best...

This episode was amazing! Tons of comedy and lots of great plot points I can't wait to explore.

I did get a very different feel in the dinner scene with the Bennetts, but wasn't sure exactly what it was when watching. I loved reading more about it on this blog, and you're right, it did have that sitcom-y look and feel.

Great premiere! Some good surprises. Hopefully whenever Hiro comes back from the past he can save his dad. Now what's poor Ando going to do? I also liked the various styles you gave to each storyline. It really made them each stand out. I loved HRG working at a copy center, as an assistant manager. Still in middle management, and paper! Thanks for the insight!

Awesome season opener! Just one question. Where is Costa Verde high school really located? It looks familiar. I've been told Diamond ranch high school but I highly doubt that. If anyone knows please let me know.thanks!

After the first season ended, the usual "hype" dies down and it's a challenge to get the viewer interested at the start of the new season.

I have to say the episode does a very good job of winding the viewer back up to the level of excitment the first season closed with. All the more challenging was the fact that the first season did not really end in a cliffhanger. As an avid fan of Smallville, the season closers and openers were really great due to the fact that they were usually done in a "to be continued" style, which makes for easy rise of the recurring viewer's interest.

The Heroes second season didn't have that luxury, and I have to say, that for the most part, a job was well done with getting my interest back into the show.

My only hangup was that the scenes with Hayden Panettiere were done in a high-school drama kind of "I've seen this already, *snore*" way which incidentally made me think of the Smallville low points (Smallville's seasons suffer from a lot of filler drama that's quite uninteresting, until the select episodes which deal with the actual story that is "From farmer to Superman" which is usually why I like the season closers and openers most on that show).

However, yeah, it all pretty much has to be forgiven because Claire's character needs to go through the motions in order to establish the state of being and the new characters being introduced around the concept.

I just hope that it doesn't continue down that road where 75% of the scenes with Hayden are high-school drama of popular kids vs. unpopular kids and how she either rises to the challenge or ignores it for the sake of anonymity. That stuff is boring and has been done to death.

But other than the nitpickery hangups, pretty damn good episode, with the high points being the Petrelli characters as well as the Kensei arc.

Did anyone else get the feeling that Hiro will become the Hero in the stories that his dad read him? I'm getting a strong impression that since his child hood hero is not as heroic as he believed him to be that he will take up the mantle of Kensi and become that great hero in the stories.

I agree that Hiro will be the hero. I thought the episode was great! While i appreciate all the work that went into each shot, that was amazing, i am just ready to get the season underway. I'm just not patient, but i have to be!

You guys have done an amazing job with heroes! Keeping it from getting too campy. I know a lot of people who have complained about the Bourne Identity camera shots, saying it's "hard to follow." I trust you guys though. :)

Wow seriously good read and love the photos. I just found this blog on google and have been glued reading ever since. Just a question does anyone know when the second season airs in Australia cause can't wait to see it.

Hey man, love every singal thing about the stylistic treatment of the series. I have a specific enqiry though... if thats okay, I guess I'll find that out regarding whether I get an answer or not I guess! :P Anyway Im rambling. ..Err

In Better Halves I was curious as to how the shots of Nikki and Jessica in the mirrors was achieved. Like when one moves and the other's static.

Is it green screen? Camera trick, doubles, mirrors and angles or really heavy computered special effects?

Hey guys, im from singapore. And SADLY. Heroes season 2 hasnt showed yet on star world which is a cable channel for us. I have cable but my friends dont. Our local tv channel, channel 5, just started showing Season 1. I find that ridiculous. Im a die-hard heroes fan. Every Inch on my wall there is something to do with Heroes. haha.

The Bennet dinner sequence was one of my favourites from the episode, Greg. I thought all the actors pulled it off beautifully, especially Ashley Crow, whose Sandra Bennet simply commanded that scene with her seemingly effortless good cheer.

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Anslem Richardson, Malcom Barrett, Paterson Joseph and Kamal Naiqui all looking sharp TIMELESS –
SEASON 2 – EPISODE 6 – “KING OF THE DELTA BLUES” (Warning some spoilers exist herin) We now join in to your regularly scheduled programming… By which I mean…The Beaming Beeman blog has been dormant for
quite awhile… I’ve been busy, but I’ve either been doing the
journeyman-episodic-director thing, where I go from episode to episode of
different shows that I’m not attached to full-time (enjoyable in it’s right),
or I haven’t been the producing/director of the show that felt right to
resurrect the blog. This season, finally, I landed on TIMELESS.A happy event for me.The show was created by Shawn Ryan and
Eric Kripke - who are the nicest, most supportive and professional showrunners
a fellow could want for. I
had the great experience this year of strong scripts, a great writer’s team and
a sense of collaboration to make 10 great …

Tonight’s episode was written by Jesse Alexander and was directed by Adam Kane. Both of these gents have been workhorses for us. Jesse is a most formidable presence in the writer’s room – driving the scripts and stories forward. And he has written several key episodes for us. Adam, as I’ve mentioned in previous posts, was the director of photography of the pilot. We gave him his first episodic break as a director last year with “.07%." This is his third episode for us.

Tonight’s episode weaves past, present and future together in the way that only we can. Adam and Peter finally leave the Montreal warehouse and begin working together… But for good or for bad? Sylar implements the next phase of his plan, which has unfortunate results for one twin. Suresh has a breakthrough, and then a setback. Claire contemplates life without father, unaware that dear old HRG is trapped in the basement of Primatech.